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From Thumbelina to Winnie-The-Pooh: Pictures, Words, and Sounds in Translation Riitta Oittinen

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From Thumbelina to Winnie-The-Pooh: Pictures, Words, and Sounds in Translation Riitta Oittinen Document generated on 09/30/2021 9:25 a.m. Meta Journal des traducteurs Translators' Journal From Thumbelina to Winnie-the-Pooh: Pictures, Words, and Sounds in Translation Riitta Oittinen Le verbal, le visuel, le traducteur Article abstract The Verbal, the Visual, the Translator The starting point of my article is that even though words are translators’ tools, Volume 53, Number 1, mars 2008 the texts they translate often include images, sounds, and movement, too. In other words, translators need media literacy. In the following, I discuss URI: https://id.erudit.org/iderudit/017975ar translating picturebooks and films, using different retellings of Disney and DOI: https://doi.org/10.7202/017975ar Andersen as examples. In addition, I ponder on issues such as text and situation as well as the interaction of the verbal, visual and aural information in the context of translation. See table of contents Publisher(s) Les Presses de l'Université de Montréal ISSN 0026-0452 (print) 1492-1421 (digital) Explore this journal Cite this article Oittinen, R. (2008). From Thumbelina to Winnie-the-Pooh: Pictures, Words, and Sounds in Translation. Meta, 53(1), 76–89. https://doi.org/10.7202/017975ar Tous droits réservés © Les Presses de l’Université de Montréal, 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ From Thumbelina to Winnie-the-Pooh: Pictures, Words, and Sounds in Translation riitta oittinen University of Tampere, Tampere, Finland riitta.oittinen@uta.fi RÉSUMÉ Même si pour les traducteurs, les mots sont un outil, les textes à traduire contiennent souvent des images, des sons et du mouvement : c’est notre constatation de départ. En d’autres termes, les traducteurs ont besoin de compétences dans les médias. Nous discuterons également des livres d’images et des films en nous servant de différentes adaptations de Disney et d’Andersen. De plus, nous réfléchirons à des questions telles que le texte et la situation, ainsi que l’interaction des informations verbales, visuelles et auditives dans le contexte de la traduction. ABSTRACT The starting point of my article is that even though words are translators’ tools, the texts they translate often include images, sounds, and movement, too. In other words, trans- lators need media literacy. In the following, I discuss translating picturebooks and films, using different retellings of Disney and Andersen as examples. In addition, I ponder on issues such as text and situation as well as the interaction of the verbal, visual and aural information in the context of translation. MOTS-CLÉS/KEYWORDS picturebooks and films, retelling, verbal, visual and aural, Disney and Andersen Translator is like the fabricating fox fabulist of fables: swiftly and wittily she moves from one position to another and keeps out of sight with all her five senses open and ready. (Oittinen 2004) Introduction In translation studies the focus primarily lies on the verbal text. Yet even though words are certainly translator’s tools, the actual text to be translated more and more often contains images, sounds, and movement. Especially when films and TV pro- grammes are translated or technical documents are created, the translator needs to ponder on issues like the verbal, visual and aural entity and the role of its elements. Interpreters, too, need to pay attention to the body language of the person to be interpreted. My article deals with images, words, and sounds in the context of translating films and picturebooks. Even if they as genres seem very different, with a closer look, they have much in common. For example, when dubbing films, the translator needs to reflect on the sound; when translating picturebooks, the translator needs to con- sider on the read-aloud situation and make the translation roll on the aloud-reader’s tongue. In addition, both of the genres involve the visual: picturebooks are illustrated and films have set and costume designs. Films and picturebooks1 also use similar methods of visual narration, such as panoramas and close-ups; even movement is Meta LIII, 1, 2008 01.Meta 53.1 final.indd 76 2/19/08 10:59:46 AM from thumbelina to winnie-the-pooh: pictures, words, and sounds 77 created in a similar manner: the cuts in a film are close to turnings of pages in pic- turebooks. In film, movement is often created with camera techniques and in a picturebook through design, paralleling colours and shapes and sizes. Film-makers may adopt methods from books and use still pictures in a row to create a continuous story. It is also interesting how the verbs “to hear” and “to see” often compensate each other in everyday life. On the Finnish television I quite recently heard the com- mentator say: “we are now going to see a concert”; on a recent taxi ride the driver and I were quite at ease to discuss listening to the TV news. As Kai Mikkonen points out, it is often very hard to distinguish between our sense perceptions.2 In the following I discuss the situation where images, sounds, and words interact in the context of picturebook and film translation. Toward the end of my article I will also underline the importance of media literacy in translator training. As examples I’m using animated films and picturebook translations of my own, espe- cially my illustration and film Thumbelina based on H. C. Andersen’s original as well as Disney’s version of Winnie-the-Pooh’s Halloween based on A. E. Milne’s original and its Finnish-language translation by me. I’m paying special attention to what kind of impact the different versions created by translators, illustrators, writers, and direc- tors have on the different characters in the stories. In other words: how will retelling change characterization in the stories? At the very beginning of my article I will deal with the concept of text: what does it refer to when being used by translators, subtitlers/dubbers, illustrators, and writers? How should we define a text when translating picturebooks and films? 1. Text and Situation A “text” is one of the key terms in translation studies. On the one hand, translators always interpret texts in a certain context: time, place, culture, ideology, norms, audience, and genre; on the other hand, the translator’s interpretation is strongly influenced by the elements of the actual text in translation, the material network of meanings3 consisting of verbal, visual, and aural information. All this indicates that in the situation of translation the voices of all the different actors are in constant interaction in the concrete situation of time, place, and culture. In addition, transla- tors need to ponder on the role and the expectations of the audience as well as the performance of the translated text. Experiencing the art, reading a picturebook or seeing a film, is inseparable from the entity of a book or film. The narratologist Gerard Genette discusses texts in several of his writings and gives categories such as paratexts, peritexts and epitexts. Paratexts are divided into peritexts (the concrete parts of the text: paper, cover, headings) and epitexts (book/ film reviews, diaries, letters). According to Genette, a work of art is a combination of peritext and the actual story; a text is a part of a work of art excluding anything paratextual. In other words, a text does not begin with a motto or introduction but the very first word of the actual story. Thus, according to Genette, the actual story of Charles Dickens’ Little Dorrit does not begin with the introduction, preface, contents, characters, or title of the story but with the very first words: “Thirty years ago, Marseilles lay burning in the sun, one day.”4 Yet the division into different kinds of texts is not as clear cut in real works of art such as Maurice Sendak’s classic picturebook Where the Wild Things Are telling 01.Meta 53.1 final.indd 77 2/19/08 10:59:46 AM 78 Meta, LIII, 1, 2008 about a little boy Max who gets angry with his mom and sails away to the land “where the wild things are.”5 The title of the book is not only found on the book cover and the front page but is constantly repeated throughout the book: in other words, the title of the book is already part of the storytelling, the first “repetition” of the phrase. The book cover with the title and the pictures of the monsters, also give the reader the first impression of the story, which certainly influences what the reader will expect. In this case, the book cover and the title are already parts of the story- telling. Even at the first encounter, the visual has a strong impact on defining a text (original text, translator’s text). For example, the visual of a picturebook contains, in addition to the actual pictures, the cover, size and shape of letters, layout, quality of paper, and the whole visual design. The visual of a film also includes side materials, trailers, posters, and DVD covers. The cover picture has a special influence on under- standing the book/film: a cover shows the main characters, the surroundings, and the atmosphere. A cover also contains intertextuality and cultural issues. For example, J.
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